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Home , Cantor (Christianity), Cappella Romana, Manuel Chrysaphes, Nenano, Paschal greeting

VENICE IN THE EAST RENAISSANCE CRETE & CYPRUS

CAPPELLA ROMANA ALEXANDER LINGAS

1 VENICE IN THE EAST: Renaissance Crete & Cyprus Alexander Lingas, music director and founder

From the Byzantine and Venetian Commemorations of the The Crucifixion and Deposition

1 Venite et ploremus Johannes de Quadris :51 soloists: Aaron Cain, Mark Powell Liber sacerdotalis (1523) of Alberto Castellani 2 Popule meus Liber sacerdotalis :52 soloist: Kerry McCarthy Sticherón for the Holy Passion: Ἤδη βάπτεται (“Already the pen”) 3 2-voice setting (melos and “ison”) Manuel Gazēs the Lampadarios (15th c.) 3:01 soloists: Spyridon Antonopoulos, MS Duke, K. W. Clark 45 John Michael Boyer Traditional Melody of the Sticherarion Mode Plagal 4 4 Cum autem venissent ad locum de Quadris 1:25 soloists: Aaron Cain, Mark Powell Liber sacerdotalis 5 O dulcissime de Quadris 1:42 soloists: Photini Downie Robinson, Kerry McCarthy Liber sacerdotalis 6 Verses of Lamentation for the Holy Passion “Corrected by” Angelos Gregoriou 10:48 MS Duke 45, Mode Plagal 2 7 Sepulto Domino de Quadris 2:46 soloists: Spyridon Antonopoulos, Aaron Cain, Mark Powell Liber sacerdotalis The Resurrection

8 Attollite portas (“Lift up your gates”) Liber sacerdotalis :35 celebrant: Mark Powell 9 Ἄρατε πύλας (“Lift up your gates”) Anon. Cypriot (late 15th c.?), MS Sinai Gr. 1313 4:30

2 10 Attollite portas … Quem queritis … Liber sacerdotalis 2:31 11 Χριστὸς ἀνέστη (“Christ has risen”) Cretan Melody as transcribed by 1:05 Ioannis Plousiadenós (ca. 1429–1500), MS Dionysiou 570 12 Venetian Paschal Greeting: Surrexit Christus! Liber sacerdotalis 1:04 celebrant: Mark Powell 13 Χριστὸς ἀνέστη Cantus grecus Christus surrexit, MS Faenza 117 1:20 New Greek of the

14 Gloria in excelsis, sung in Greek Gazēs and Plousiadenós 9:14 Mode 1 15 The Nicene-Constantinopolitan Creed, sung in Greek The “New” of Crete 7:34 MS Sinai 1552, Mode Plagal 4 16 Verse for : Σῶμα Χριστοῦ μεταλάβετε Ioannis Laskaris (15th c.) 3:29 (“Receive the Body of Christ”) Mode Plagal 2 “” 17 Communion Verse: Ὁ ἑωρακὼς ἐμέ An Old [Cretan] Melody Embellished by 2:00 (“One who has seen me”), John 14:9 Hieronymos Tragodistēs of Cyprus (16th c.) MS Sinai Gr. 1313, Mode Plagal 4 Byzantine Hymns to the Mother of God

18 A Tropárion from the 9th Ode of the Paschal Hieronymos Tragodistēs 1:30 by St. : Ὢ Πάσχα τὸ μέγα (“O Great Pascha”) In polyphony 19 Káthisma “as sung on the Holy Mountain” Angelos Gregoriou 2:50 MS Dionysiou 570, Mode Plagal 4 20 Kalophonic Theotokíon for Cardinal Bessarion Plousiadenós 15:36 soloists: Spyridon Antonopoulos, John Michael Boyer total 74:46

3 Cappella Romana Alexander Lingas, music director and founder soprano alto tenor bass Rebekah Gilmore Kristen Buhler Spyridon Antonopoulos John Michael Boyer Photini Downie Robinson Emily Lau Richard Barrett Aaron Cain Catherine van der Salm Kerry McCarthy Nicholas Fine David Krueger Mark Powell David Stutz

Cappella Romana Music director and founder Alexander Lingas is a in Its performances “like jeweled light flooding the space” ( Music at City, University London and a Fellow of the University Times), Cappella Romana is a professional vocal ensemble dedicated of Oxford’s European Humanities Research Centre. He received to combining passion with scholarship in its exploration of the his Ph.D. in Historical Musicology from the University of British musical traditions of the Christian East and West, with emphasis on Columbia. His present work embraces not only historical study but early and contemporary music. The ensemble is known especially for also ethnography and performance. Formerly Assistant Professor its presentations and recordings of medieval Byzantine (the of Music History at Arizona State University’s School of Music, Dr. Eastern sibling of ), Greek and Russian Orthodox Lingas has also served as a lecturer and advisor for the Institute of choral works, and other sacred music that expresses the historic Orthodox Christian Studies at the University of Cambridge. His traditions of a unified Christian inheritance. Founded in 1991, awards include Fulbright and Onassis grants for musical studies Cappella Romana has a special commitment to mastering the Slavic with Lycourgos Angelopoulos, the British Academy’s Thank- and Byzantine musical repertories in their original languages, thereby Offering to Britain Fellowship, research leave supported by the Stavros making accessible to the general public two great musical traditions Niarchos Foundation, and the St. medallion of that are little known in the West. The ensemble presents annual concert the National Forum for Greek Orthodox Musicians (USA). series in Portland, Oregon, Seattle, Washington, and San Francisco, Having contributed articles to The New Grove Dictionary of Music and California, in addition to touring nationally and internationally, most Musicians, and The Oxford Handbook of Byzantine Studies, Dr. Lingas recently to Hungary, Serbia, and the UK. Critics have consistently is now completing two monographs: a study of Sunday in praised Cappella Romana for their unusual and innovative the Rite of for Ashgate and a historical introduction to programming, including numerous world and American premieres. Byzantine Chant for Yale University Press. Cappella Romana has released more than twenty recordings.

4 5 6 VENICE AND HER GREEK COLONIES autonomy in the sixteenth century with the attempt to reunify the churches at the From her emergence as a significant political building of the church of San Giorgio dei Council of Ferrara-Florence (1438–39). entity in the sixth century under the rule of Greci. Cyprus fell to the Ottomans in 1571, Grand Ecclesiarch of Hagia Sophia the Eastern Roman (“Byzantine”) Empire followed by Crete in 1669, after which the Sylvester Syropoulos, although personally to the dissolution of her Serene Republic Ionian Islands were the only Greek lands opposed to the Union of Florence, was by Napoleon in 1797, the city of Venice to remain continuously under Venetian among the chroniclers to report occasions remained closely tied to the Greek East. rule (even as it sporadically regained when Venetian hosts and Greek Orthodox Following the diversion of the Fourth footholds in the Peloponnesus). The arrival travelers experienced the of Crusade to sack in the of Cretan refugees in the seventeenth the other in a positive way. Syropoulos, year 1204, the Venetians not only seized century bolstered cultural life on the larger for example, expressed admiration for a for themselves priceless treasures that to Ionian islands of Corfu, Zante, Lefkada, celebration of Latin vespers at the Venetian this day adorn their Byzantine-style church and Cephalonia, which to this day retain monastery of San Giorgio on 23 February of San Marco, but also began to acquire Italianate linguistic, artistic, and musical 1438, attended by Ecumenical Patriarch colonies in the Eastern Mediterranean. The traditions. Joseph II. After the council the Venetians empire amassed by Venice subsequently The split that had occurred between the warmly received a full celebration of the waxed and waned relative to the fortunes Roman Catholic and Eastern Orthodox Byzantine at San Marco of its military and economic competitors Churches at the beginning of the second in September 1439. While the Union of that included Western powers such as Christian millennium caused varying Florence ultimately failed to reconcile the the Genoese and the French, as well as degrees of friction between Venice and her churches, it retained some notable Greek the Byzantines, and—especially from the Greek subjects. The Orthodox of Crete, for supporters. Prominent among these was the fourteenth century onwards—the Ottoman example, were allowed to retain their own former Metropolitan of Nicea, Bessarion Turks. lower but forbidden to consecrate (1403–72), an intellectual who became a Cardinal of the Roman Church and in 1468 Crete, acquired by Venice in 1204, was their own , placing them nominally donated to Venice his valuable collection for over four hundred years the Serene under a Latin hierarchy. Music, however, of books, now contained in the Biblioteca Republic’s most important and prosperous was not an area of significant conflict Marciana. Greek colony. The island developed a (Lingas 2006) and the general trend over flourishing Greco-Italian Renaissance time was toward greater religious toleration. The music on this recording witnesses culture that it came to share with Cyprus, In the fifteenth century, religious tensions to interactions between Greeks and control of which passed in 1489 from the temporarily relaxed when Venice and Latins within the shared cultural space of French Lusignan dynasty to the Venetian her colonies served as waystations for Venetian rule. It begins by demonstrating Republic. Meanwhile, Venice herself came the delegation of Byzantine civil and the similar ways in which they enriched to host a prominent Greek minority that had ecclesiastical officials, headed by Emperor their respective ancient liturgical traditions gained a measure of cultural and religious John VIII, that journeyed to Italy in an for the Paschal Triduum, the period from

7 to Easter Sunday marking a pupil of Gazēs. Provided in addition to on this recording) as set to exuberant music, the Crucifixion and Resurrection of the traditional chants for the Passion, this probably in the late fifteenth century, by Christ. On Good Friday both communities lament is a poem cast in fifteen-syllable an anonymous composer in Sinai Gr. 1313, rendered Christ physically present—the verse, a meter employed in both learned a manuscript containing Byzantine chant Roman Catholics with a consecrated and folk poetry, and set to music stylistically from Venetian Cyprus. host and the Greek Orthodox through resembling Greek folk song. Proclaimed outside the church without a the , a cloth embroidered with Even stronger congruences between Greek an of the dead Jesus surrounded by and Latin practice under Venetian rule are angels—in rituals of burial and lamentation. apparent in the ceremonies marking the The Latindepositio ceremony observed in Resurrection of Christ on Easter morning. Venice during the fifteenth and sixteenth As in the , it was the custom centuries is contained in books compiled in Venice for an outdoor to be for use at San Marco, as well as in the Liber confronted by the closed doors of an empty sacerdotalis (1523), edited by the Dominican church. In Castellani’s Liber sacerdotalis Alberto Castellani and widely distributed in the opening of the doors is heralded by Northern Italy. As Susan Rankin (1997:171) the proclamation of verses from Psalm notes, it involved an “extremely elaborate” 23 (lxx), a text traditionally employed procession that allowed much of the city’s in both the Byzantine and Roman rites population to participate alongside “the for the consecration of churches. The ducal retinue, clerics of St. Mark’s, and use of this text on Easter morning was foreign ambassadors.” On this recording also known in Byzantium, where it was we offer excerpts of two-voice music for listed in the fourteenth-century manual these devotions in the Liber sacerdotalis by of court ceremony by Pseudo-Kodinos as Johannes de Quadris, a composer active at a practice not observed in the imperial San Marco during the second quarter of the palace. Although still excluded from most fifteenth century. This music is echoed by Orthodox service books, “Lift up your gates” the simple polyphony of his contemporary has in some regions remained a feature of Manuel Gazēs, a cantor and composer who Easter celebrated according to the Byzantine served in the Byzantine imperial chapel rite until the present day, normally taking before retiring to Crete. The Latin laments the form of a dialogue spoken between of the Virgin Mary for her crucified Son clerics outside and inside the church doors find a Greek counterpart in a manuscript (Phountoules 1997: 174–79). Here we offer Ἄρατε πύλας (Lift up your gates) of Byzantine liturgical music recorded by the beginning of this exchange (sung second ex MS Sinai Gr. 1313 (344r) the Cretan composer Angelos Gregoriou, 8 response, “Attollite portas” was followed in Pedro Memelsdorff has recently (2014) Gazēs and . In Italy sixteenth-century Venice by the musical noted a previously overlooked synthesis of Plousiadenós became a protégé of Cardinal dialogue “Quem queritis.” Originating these two traditions in the Codex Faenza Bessarion, who commissioned the hymn in as a set of tropes prefacing the Roman 117, a manuscript best known for its early fifteen-syllable verse to the Virgin Mary that Easter “Resurrexi” and then instrumental music. This is a polyphonic concludes this recording. Announcing the incorporated into the Visitatio sepulchri setting for four voices of the Greek Paschal name of its patron in an acrostic and set in liturgical dramas of the Latin West, it , written in Latin characters, that the sophisticated “kalophonic” (“beautiful paraphrases the words exchanged between ends with the Latin response “Deo gratias.” sounding”) style of late medieval Byzantine the myrrhbearing women and the angel Labeled “Cantus grecus Christus surrexit,” chant, the work climaxes musically as its text at the empty tomb of the risen Christ. it was copied, according to Memelsdorff, by dissolves into nonsemantic vocables (tititi – Following the dialogue’s conclusion at San the Carmelite Friar Johannes Bonadies in terere) known as teretismata. It is currently Marco with the invitation, “Come and the autumn of 1473 “in or reasonably close known to survive only in Mt. Athos see where the Lord was placed, , to Mantua.” The uppermost voice sings what Koutloumousiou 448, a manuscript copied Alleluia!,” the procession entered the basilica I identified as a variant of a melody for the in the late sixteenth or early seventeenth and proceeded to a symbolic “sepulchre” in the manuscript Mount century by the Cretan composer Benedict at the end of the north transept. Finding Athos Dionysiou 570. For comparison, we Episkopopoulos. the tomb empty, the celebrant proclaimed sing also the original Byzantine version Plousiadenós continued the legacy of Gazēs three times at successively higher pitches listed by its scribe, John Plousiadenós (ca. in two direct ways: by also composing, the Paschal greeting “Christ has risen!” 1429–1500), as the version “sung on Crete as may be heard on Cappella Romana’s (“Surrexit Christus!”), to which the by the common [people]” («Τὸ ᾀδόμενον ἐν recording The , simple responded “Deo gratias.” The celebrant then Κρήτῃ παρὰ τοῦ κοινοῦ»). polyphony in two parts; and by completing exchanged this greeting individually with Plousiadenós was a Cretan priest, music Gazēs’ partial setting in Greek of the ancient the Doge, followed by civic and religious theorist, scribe, and composer who lived hymn Gloria in excelsis as it was used in the officials in descending order of seniority. in Venice for significant portions of mass of the (the Byzantine rites Rankin has identified this ceremony as his life. On his native island he became of Jerusalem and Constantinople employed a Venetian adaptation of the traditional a convinced advocate of the Union of a longer form of the text in the morning Byzantine Easter greeting «Χριστὸς Florence even while as a musician he, like office of Orthros). Although Byzantine ἀνέστη!» / «Ἀληθῶς ἀνέστη!» (“Christ the monk Angelos Gregoriou mentioned adaptations of the Roman mass circulated has risen!” / “He has risen indeed!”), above, cultivated traditions brought there in southern Italy under the name of “The the beginning of which also features by cantors escaping the collapse of the Divine Liturgy of St. Peter,” it is more prominently as the incipit of the famous , prominent among whom likely that Gazēs composed his version, Paschal Troparion «Χριστὸς ἀνέστη ἐκ were the Imperial Lampadarioi Manuel which sets the first half of the Roman text, νεκρῶν» (“Christ has risen from the dead”).

9 Codex Faenza 117 (30)

10 for one of the joint religious observances late Byzantine musicians to imitate their for Easter in Sinai Greek 1566, a manuscript that Greeks and Latins occasionally Western counterparts in writing fully copied by Gazēs’ student Angelos Gregoriou. celebrated following the Union of Florence. melodic settings—in Greek and without the The heading for a hymn in Sinai Greek 1547, Presumably the impetus for Plousiadenós controversial Latin addition of the phrase an autograph of Plousiadenós, provides to set the remainder of the Gloria was his “filioque” to its clause on the procession evidence for Gregoriou’s own ties to the own participation, as a unionist Greek of the Holy Spirit—of the Nicene- mainland. Honoring the Virgin Mary as cleric, in such celebrations (he is known, Constantinopolitan Creed, a text that in Mother of God (), the chant for example, to have chanted the the Orthodox East had previously lacked a is a intended for the office of in Greek at the in on 25 notated musical tradition (Kritikou 2011). Orthros. Set in the Fourth Plagal Mode, December 1498). Other opportunities could This practice was taken up by composers it features a variant of the model melody have arisen after he was named Roman on Crete, including the unnamed “New «Τὴν σοφίαν καὶ λόγον» as then “sung on Catholic of the Venetian outpost [Teachers]” who created the setting on the Holy Mountain” of Athos and “written of Methone in the Peloponnesus in 1490. this recording transmitted by the scribe down by Kyr Angelos Gregoriou” as directed Confirmed in this post by the Senate of Theodore Rhodakinos in two late fifteenth- by a monk of the “venerable” Athonite the Serene Republic, Plousiadenós died in century manuscripts (Sinai Greek 1463 and “monastery of the Most-Holy Mother of a Turkish siege ministering to his mixed 1552). G o d .” Christian flock. Viewed from a musical Ioannis Laskaris was another cantor, The latest composer represented on this perspective, the settings of Gazēs and composer, and music theorist who recording is the mid-sixteenth-century Plousiadenós are highly congruent. Both left Constantinople to settle in Candia Cypriot musician Hieronymos Tragodistēs are set in the same mode and employ the (Chandax) on Crete in 1411. His career (Agapitos 2000), who wrote a significant rhythmic signs of Byzantine chant notation there as a teacher of Byzantine chant is yet hitherto poorly studied body of in unconventional ways to approximate documented by contracts in the Venetian musical works for the Byzantine rite using the capabilities of contemporary Western archives, as are his activities as an agitator traditional forms of notation. Among them mensural (measured) notation. This allowed for the rights of the Orthodox Church is a communion verse them to create rhythmically complex (Markopoulos 2008 and Markouris 2009). based on a text from melodies in triple time, thus producing Although the latter led to what was intended John 14:9 that had Greek equivalents of what was known in to be his permanent expulsion from the been set previously Latin as cantus fractus. island in 1418, Venetian records indicate that both by Gazēs and, The remaining selections on this recording by 1421 Laskaris had resumed teaching in for two voices, by survey other ways in which Byzantine Candia. His many musical works are well Plousiadenós. Writing music developed during the fifteenth represented in manuscripts copied on both in his own hand in and sixteenth centuries under Venetian Crete and the Greek mainland. We offer Sinai Greek 1313, rule. Gazēs was among a small group of here a brief setting of the communion verse Hieronymos describes

11 his version as an embellishment of an “old” Works Cited language learning in Venetian Crete melody. Agapitos, Panagiotis. 2000. “Hieronymos (14th–15th century).” In I Greci durante la Hieronymos is today better known as a Tragodistēs: Ein zypriotischer Musiker venetocrazia: Uomini, spazio, idee (XIII- scribe active in and Venice, where der Spätrenaissance.” In Zypern: Insel im XVIII sec.). Atti del convegno internazionale he studied with Gioseffo Zarlino (1517– Brennpunkt der Kulturen, edited by Sabine studi: Venezia, 3-7 dicembre, 2007, edited 1590), the noted theorist of Western music Rogge, 249–67. Münster: Waxmann. by Chrysa A. Maltezou, Angeliki Tzavara and Despina Vlassi, 233–49. Venice: Istituto and maestro di cappella at San Marco from Kritikou, Flora. 2011. “The Byzantine ellenico di studi bizantini e postbizantini di 1565 until his death. Under the influence Compositions of the ‘Symbolon of Faith’.” Venezia. of Zarlino, Hieronymos wrote a treatise In Psaltike: Neue Studien zur Byzantinischen proposing a reform of Byzantine notation Musik. Festschrift für Gerda Wolfram, edited Memelsdorff, Pedro. 2014. Cantus“ grecus: that is followed in its sole manuscript copy by Nina-Maria Wanek, 167–86. Vienna: Greek liturgy ‘more Latinorum’ in the (Sinai Greek 1764) by a brief motet for Praesens. Codex Faenza 117.” In Mondo latino e civiltà four voices in Renaissance style that sets a bizantina: Musica, arte e cultura nei codici Lingas, Alexander. 2006. “Medieval stanza from Ode Nine of the Paschal Canon del ’400, edited by Antonio Lovato and Byzantine Chant and the Sound of for Easter matins by John of Damascus Dilva Princivalli, 203–223. Padova: Cleup. .” In Byzantine Orthodoxies, (Schartau, ed., 1990). Hieronymos gives Papers from the 36th Spring Symposium of Phountoules, Ioannes. 1997. Ἀπαντήσεις three of its parts in staff notation, recording Byzantine Studies, edited by Andrew Louth εἰς Λειτουργικὰς Ἀπορίας. 5th ed. Vol. 1. the remaining voice in his own reformed and Augustine Casiday, 131–150. Aldershot: Athens: Ἀποστολικὴ Διακονία. system of Byzantine neumes. Ashgate. Rankin, Susan. 1997. “From Liturgical —Alexander Lingas Markopoulos, Athanasios. 2008. «Ἰωάννης Ceremony to Public Ritual: ‘Quem queritis’ Λάσκαρης. Ἕνας Κωνσταντινουπολίτης at St. Mark’s, Venice.” In Da Bisanzio a San μουσικὸς στὴν Κρήτη.» In Παιδεία Marco: Musica e liturgia, edited by Giulio και πολιτισμὸς στὴν Κρήτη, Βυζάντιο- Cattin. Bologna: Il mulino. Βενετοκρατάα: Μελέτες ἀφιερωμένες στὸν Schartau, Bjarne, ed. 1990. Hieronymos Θεοχάρη Δετοράκη, edited by Ἰωάννης Tragodistēs – Über das Erfordernis von Βάσσης, Στέφανος Κακλαμάνης and Schriftzeichen für die Musik der Griechen, Μαρίνα Λουκάκη, 91–98. Ἡράκλειο & Monumenta musicae Byzantinae. Corpus Ρέθυμνο: Πανεπιστημιακὲς Ἐκδόσεις scriptorum de re musica 3. Vienna: Verlag Κρήτης - Εκδόσεις Φιλοσοφικῆς Σχολῆς der Österreichischen Akademie der Πανεπιστημίου Κρήτης. Wissenschaften. Markouris, Ioannis. 2009. “Apprenticeships in Greek Orthodox chanting and Greek

12 TEXTS AND TRANSLATIONS

From the Byzantine and Venetian Commemorations of the Paschal Triduum

The Crucifixion and Deposition 1 Versus: Venite et ploremus ante Dominum, qui Verse: Come and let us lament before the Lord, who passus est pro nobis dicens: suffered for us saying:

2 Chorus: Popule meus, quid feci tibi? Aut in quo Chorus: O my people, what have I done to you? contristavi te? Responde mihi. How have I saddened you? Answer me.

3 Στιχηρόν εἰς τὰ Ἅγια Πάθη for the Holy Passion Ἤδη βάπτεται κάλαμος ἀποφάσεως, παρὰ κριτῶν Already the pen of sentence is being dipped in ink ἀδίκων, καὶ Ἰησοῦς δικάζεται, καὶ κατακρίνεται by unjust judges, and Jesus is being convicted and σταυρῷ, καὶ πάσχει ἡ Κτίσις, ἐν σταυρῷ καθορῶσα condemned to the Cross; and creation, seeing its τὸν Κύριον. Ἀλλ᾽ ὁ φύσει σώματος δι᾽ ἐμὲ πάσχων, Lord on the Cross, is suffering. But loving Lord, who ἀγαθὲ Κύριε δόξα σοι. for me suffer in your bodily nature, glory to you!

4 Cum autem venissent ad locum, But when they came to the place ubi crucifigendus erat filius meus, where my Son was to be crucified, statuerunt eum in medio omnis populi, they set him in the midst of all the people, et vestibus expoliatis, and, stripped of his garments, nudum dimiserunt corpus sanctissimum. they sent away his most holy body naked.

5 O dulcissime filie Syon, O sweetest daughters of Zion, O dulcissime, videte dolorem meum. O sweetest ones, see my pain. Inspicite nudum in medio omnis populi Look upon him naked in the midst of all the people, filium meum dulcissimum; my sweetest Son; vulneratus est in medio eorum. he was wounded in the midst of them.

13 6 Θρηνικοὶ στίχοι εἰς τὰ Ἅγια Πάθη Verses of Lamentation for the Holy Passion Θρηνικοὶ στίχοι ψαλλόμενοι εἰς τὰ Ἅγια καὶ Τίμια Verses of Lamentation sung at the Holy and Precious Πάθη τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ, ἐδιορθώθησαν Passion of our Lord Jesus Christ, corrected by me παρ᾽ ἐμοῦ [Ἀγγέλου Γρηγορίου], ἦχος πλ. β´ [Angelos Gregoriou] mode plagal 2

Παρισταμένη τῷ Σταυρῷ ἡ Πάναγνος Παρθένος Standing by the Cross and seeing the Savior καἰ τὸν Σωτῆρα βλέπουσα κρεμάμενον ἐν ξύλῳ, Hanging on the wood, the immaculate Virgin, θρηνοῦσα σπλάχνα μητρικά, ὀδύρετο βοῶσα· Lamenting in her motherly heart, in mourning cried out: τέκνον ἐμὸν γλυκύτατον, παμφίλτατόν μου τέκνον, My Child most sweet, my Child most beloved, πῶς ὑπομένεις έμπτυσμούς, ῥαπίσματα καὶ ὕβρεις, How do you endure the spittings, the blows, the outrages? πῶς ὑπομένεις τὸν σταυρὸν, τοὺς ἥλους καὶ τὴν λόγχην, How do you endure the Cross, the nails and the lance, τὸν σπόγγον καὶ τὸν κάλαμον, τὸν τίτλον τοῦ Πιλάτου, The sponge and the reed, the inscription of Pilate, εἰς τοῦ Πιλάτου τὴν αὐλήν, εἰς τὴν ἄρνησιν τοῦ Πέτρου. The denial of Peter in the courtyard of Pilate? Ἐξέστη γῆ καὶ οὐρανός, ἐπὶ τῇ σῇ σταυρώσει, Earth and Heaven were amazed at your Crucifixion, ὁ ἥλιος ἐσκότασεν, ἐῤῥάγησαν αἱ πέτραι, The sun darkened, the rocks split, τότε τὸ καταπέτασμα, τὸ τοῦ ναοῦ ἐσχίσθη, Then the curtain of the temple was torn, ἰδοὺ λοιπὸν πεπλήρωται, τοῦ Συμεὼν ὁ λόγος, And thus the prophecy of Symeon was fulfilled. ἀλλὰ ἀνάστα Κύριε, τριήμερος ἐκ τάφου, But rise, Lord, from the tomb on the third day, καὶ σπεῦσον σῶσον εἰς ἐμέ, τἠν Κεχαριτωμένην. And hurry to me, the One Full of Grace, and save me.

7 Sepulto Domino, signatum est monumentum ad When the Lord was buried, the tomb was sealed at ostium monumenti: ponentes milites, qui the , custodirent illud. with soldiers placed to guard it: Ne forte veniant discipuli et furentur eum, et dicant Lest his disciples come and steal him, and say to the plebi: Surrexit a mortuis. people that he has risen from the dead.

14 The Resurrection 8 Et dum pervenerint ad fores ecclesie… sacerdos And when they have arrived at the doors of the paratus pulsat ad ostium manu vel cum cruce dicens church… the priest, who is ready there, knocks at the sonora voce in tono lectionis: door with his hand or with the cross, chanting with a sonorous voice in the tone for readings: Attollite portas, principes, vestras, et elevamini Lift up your gates, you rulers, and be lifted up, porte eternales, et introibit rex glorie. you eternal gates, and the king of glory will enter.

Et pro ista prima pulsatione illi deintus nihil And those who are inside do not respond to this first respondent. Et facto modico intervallo sacerdos knocking. And after a brief interval the priest knocks iterum vehementius pulsat ad ostium dicens voce again more vehemently at the door, chanting again altiori [in tono lectionis]: in a higher voice [in the tone for readings]: 9 Οἱ ἐκτός Those outside Ἄρατε πύλας, οἱ ἄρχοντες ὑμῶν, πύλας ὑμῶν Lift up your gates, you rulers; your gates, lift them up! ἄρατε, ἄρατε πύλας, οἱ ἄρχοντες ὑμῶν, ἄρατε Lift up your gates, you rulers, and be lifted up, καὶ ἐπάρθητε, πύλαι αἰώνιοι, καὶ εἰσελεύσεται ὁ you eternal gates, and the king of glory will enter, βασιλεὺς τῆς δόξης, ἄρατε! lift them up!

Οἱ ἐντός Those inside Τίς ἐστιν οὗτος ὁ βασιλεὺς τῆς δόξης; Τίς ἐστιν; Who is this king of glory? Who is he?

10 Et illi deintus nihil respondent. Et tunc sacerdos And those within do not respond. And then the modico intervallo facto iterum in eodem tono sed priest, after a brief interval, chants once again in the altius quam secundo pulsans fortiter ostium ecclesie same tone but higher than the second time, knocking dicit: strongly at the door of the church: Attollite portas, principes, vestras, et elevamini Lift up your gates, you rulers, and be lifted up, porte eternales, et introibit rex glorie. you eternal gates, and the king of glory will enter.

Tunc illi cantori deintus statim cantando Then the cantors inside immediately respond, respondent: singing: Quem queritis in sepulchro, Whom do you seek in the tomb, O Christicole? O followers of Christ?

15 Et illi de foris respondent: And those outside respond: Iesum Nazarenum crucifixum, o celicole. Jesus the crucified Nazarene, O Heavenly One.

Et iterum illi deintus respondeant: And once again let those inside respond: Non est hic, surrexit sicut predixerat; Ite, nuntiate, quia He is not here, but has risen as he foretold. surrexit a mortuis. Go, announce that he has risen from the dead. Venite et videte locum, ubi positus erat Dominus, alleluia, Come and see where the Lord was placed, alleluia. alleluia, alleluia.

11 Χριστὸς ἀνέστη ἐκ νεκρῶν, θανάτῳ θάνατον πατήσας, καὶ Christ has risen from the dead, by death he has trampled τοῖς ἐν τοῖς μνήμασι, ζωὴν χαρισάμενος. on death, and to those in the graves given life.

12 Tunc celebrans ascendit ad sepulcrum…et cantat: Then the celebrant goes up to the sepulchre…and sings: Surrexit Christus! Christ has risen!

Et chorus respondet: And the choir responds: Deo gratias. Thanks be to God.

Et exaltet vocem altius quam primum et dicat: And raising his voice higher than before he says: Surrexit Christus! Christ has risen!

Et chorus respondet: And the choir responds: Deo gratias. Thanks be to God.

Et exaltata voce adhuc altius quam secundo dicat: And raising his voice even higher than the second time he says: Surrexit Christus! Christ has risen!

13 Et chorus respondet: And the choir responds: Χριστὸς ἀνέστη ἐκ νεκρῶν, θανάτῳ θάνατον πατήσας, καὶ Christ has risen from the dead, by death he has trampled τοῖς ἐν τοῖς μνήμασι, ζωὴν χαρισάμενος. Deo gratias. on death, and to those in the graves given life. Thanks be to God.

16 New Greek Chants of the Eucharist 14 Gloria in excelsis Τοῦ Γαζῆ By Gazēs Δόξα ἐν ὑψίστοις Θεῷ, καὶ ἐπὶ γῆς εἰρήνη, ἐν ἀνθρώποις Glory to God in the highest, and on earth peace, goodwill εὐδοκία. among men. Αἰνοῦμέν σε, εὐλογοῦμέν σε, προσκυνοῦμέν σε, We praise you, we bless you, we worship you, we glorify you, δοξολογοῦμέν σε, εὐχαριστοῦμέν σοι, διὰ τὴν μεγάλην σου we thank you for your great glory. δόξαν. O Lord, heavenly King, Κύριε βασιλεῦ, ἐπουράνιε Θεέ, Πάτερ παντοκράτορ, Κύριε God the almighty Father. Υἱὲ μονογενές, Ἰησοῦ Χριστέ, καὶ Ἅγιον Πνεῦμα. O Lord, only-begotten Son, Jesus Christ and the Holy Spirit.

Τοῦ Πλουσιαδηνοῦ By Plousiadenós Κύριε ὁ Θεός, ὁ ἀμνὸς τοῦ Θεοῦ, ὁ Υἱὸς τοῦ Πατρός, ὁ Lord God, lamb of God, Son of the Father, who takes away αἴρων τὴν ἁμαρτίαν τοῦ κόσμου, ἐλέησον ἡμᾶς. the sin of the world, have mercy upon us. Ὁ αἴρων τὰς ἁμαρτίας τοῦ κόσμου, πρόσδεξαι τὴν δέησιν You who take away the sins of the world, receive our prayer, ἡμῶν, ὁ καθήμενος ἐν δεξιᾷ τοῦ Πατρός, καὶ ἐλέησον ἡμᾶς. you who sit on the right hand of the Father and have mercy Ὅτι σὺ εἶ μόνος Ἅγιος, σὺ εἶ μόνος Κύριος, σὺ εἶ μόνος upon us. For you alone are holy, you alone are Lord, you ῞Υψιστος, Ἰησοῦ Χριστέ, σὺν τῷ Ἁγίῳ Πνεύματι, εἰς δόξαν alone are the Most High, Jesus Christ, with the Holy Spirit, Θεοῦ Πατρός. to the glory of God the Father. Ἀμήν. Amen.

17 15 Τὸ Σύμβολον τῆς Πίστεως The Nicene-Constantinopolitan Creed Πιστεύω εἰς ἕνα Θεόν, Πατέρα, Παντοκράτορα, I believe in one God, Father almighty, Maker of ποιητὴν οὐρανοῦ καὶ γῆς, ὁρατῶν τε πάντων καὶ heaven and earth, and of all things visible and ἀοράτων. invisible. Καὶ εἰς ἕνα Κύριον Ἰησοῦν Χριστόν, And in one Lord, Jesus Christ, τὸν Υἱόν τοῦ Θεοῦ τὸν Μονογενῆ, the only-begotten Son of God, τὸν ἐκ τοῦ Πατρὸς γεννηθέντα πρὸ begotten from the Father before all ages. πάντων τῶν αἰώνων. Φῶς ἐκ φωτός, Θεὸν ἀληθινὸν Light from Light, true God from true God, begotten ἐκ Θεοῦ ἀληθινοῦ γεννηθέντα, οὐ ποιηθέντα, not made, consubstantial with the Father; through ὁμοούσιον τῷ Πατρί, δι᾽ οὗ τὰ πάντα ἐγένετο. him all things were made; Τὸν δι᾽ ἡμᾶς τοὺς ἀνθρώπους καὶ διὰ τὴν ἡμετέραν For our sake and for our salvation σωτηρίαν κατελθόντα ἐκ τῶν οὐρανῶν καὶ he came down from heaven, and σαρκωθέντα ἐκ Πνεύματος Ἁγίου καὶ Μαρίας was incarnate from the Holy Spirit and the Virgin τῆς Παρθένου καὶ ἐνανθρωπήσαντα. Mary and became man; Σταυρωθέντα τε ὑπὲρ ἡμῶν ἐπὶ Ποντίου Πιλάτου καὶ he was crucified also for us under Pontius Pilate, and παθόντα καὶ ταφέντα. Καὶ ἀναστάντα τῇ τρίτῃ ἡμέρᾳ suffered and was buried; he rose again on the third κατὰ τὰς Γραφάς. day, in accordance with the Scriptures, Καὶ ἀνελθόντα εἰς τοὺς Οὐρανοὺς καὶ καθεζόμενον ἐκ and ascended into heaven and is seated at the right δεξιῶν τοῦ Πατρός. Καὶ πάλιν ἐρχόμενον μετὰ δόξης hand of the Father; he is coming again in glory to κρῖναι ζῶντας καὶ νεκρούς οὗ τῆς βασιλείας οὐκ ἔσται judge the living and the dead; and his kingdom will τέλος. have no end. Καὶ εἰς τὸ Πνεῦμα τὸ Ἅγιον, τὸ Κύριον, τὸ Ζωοποιόν, And in the Holy Spirit, the Lord, the Giver of life, who τὸ ἐκ τοῦ Πατρὸς ἐκπορευόμενον, τὸ σὺν Πατρὶ καὶ proceeds from the Father, who together with Father Υἱῷ συμπροσκυνούμενον καὶ συνδοξαζόμενον, τὸ and Son is worshiped and together glorified; who λαλῆσαν διά τῶν Προφητῶν. spoke through the Prophets. Εἰς Μίαν, Ἁγίαν, Καθολικὴν καὶ Ἀποστολικὴν In One, Holy, Catholic, and Apostolic Church; I Ἐκκλησίαν. Ὁμολογῶ ἕν Βάπτισμα εἰς ἄφεσιν confess one Baptism for the forgiveness of sins; I await ἁμαρτιῶν. Προσδοκῶ ἀνάστασιν νεκρῶν. Καὶ ζωὴν the resurrection of the dead and the life of the age to τοῦ μέλλοντος αἰῶνος. come. Ἀμήν. Amen.

18 16 Κοινωνικὸν τοῦ Πάσχα Communion Verse for Easter Σῶμα Χριστοῦ μεταλάβετε, πηγῆς Receive the Body of Christ; taste ἀθανάτου γεύσασθε. from the immortal fount.

17 Κοινωνικόν Communion Verse Ὁ ἑωρακὼς ἐμέ, εἶπεν ὁ Κύριος, ἑώρακεν τὸν Πατέρα. “One who has seen me,” says the Lord, “has seen the Father.” – John 14:9

Byzantine Hymns to the Mother of God 18 Ὁ Κανών τοῦ Πάσχα, ποίημα Ἰωάννου τοῦ A Tropárion from the Ninth Ode of the Paschal Δαμασκηνοῦ. Τροπάριον ἐκ τῆς θ´ ᾠδῆς Canon by John of Damascus Ὢ Πάσχα τὸ μέγα, καὶ ἱερώτατον Χριστέ· ὤ σοφία καὶ O great and most sacred Pascha, Christ! O Wisdom Λόγε, τοῦ Θεοῦ καὶ δύναμις· δίδου ἡμῖν ἐκτυπώτερον, and Word and Power of God! Grant that we may σοῦ μετασχεῖν, ἐν τῇ ἀνεσπέρῳ, ἡμέρᾳ τῆς βασιλείας partake of you fully in the day that has no evening of σου. your Kingdom.

19 Κάθισμα καθὼς ψάλλεται εἰς τὸ Ἅγιον Ὄρος Káthisma “as sung on the Holy Mountain” Ἦχος πλ. δʹ Mode Plagal 4, Πρὸς «Τὴν Σοφίαν καὶ Λόγον» to the tune of “The Wisdom and the Word” Χαῖρε Θρόνε πυρίμορφε τοῦ Θεοῦ· Hail, throne of God, formed of fire. Χαῖρε Κόρη Καθέδρα βασιλική, Hail, Maiden, royal seat, couch strewn with purple Κλίνη πορφυρόστρωτε, χρυσοπόρφυρε Θάλαμε, and gold, and purple bridal chamber, cloak of sea Χλαμὺς ἀλουργόχροε, τιμαλφέστατον Τέμενος, purple dye, most costly sanctuary, lightning-bearing ἀστραπηφόρον Ἅρμα, Λυχνία πολύφωτε· chariot, lampstand of many lights. Χαῖρε Θεοτόκε, δωδεκάτειχε Πόλις, καὶ Πύλη Hail, Mother of God, twelve-walled city, gate of beaten χρυσήλατε, καὶ Παστὰς ἀγλαόμορφε, ἀγλαόχρυσε gold, beauteous inner chamber, fair gilded table, Τράπεζα, θεοκόσμητον Σκήνωμα· tabernacle adorned by God. Χαῖρε ἔνδοξε Νύμφη ἡλιοστάλακτε· Hail, glorious Bride, bedecked with the sun. Χαῖρε μόνη τοῦ κὀσμου ἡ Δέσποινα. Hail, only Lady of the world.

19 20 Θεοτοκίον καλοφωνικὸν Kalophonic Theotokíon πρὸς τὸν Καρδινάλιο Βησσαρίωνα for Cardinal Bessarion Ἕτερον Θεοτοκίον τοῦ αὐτοῦ [Ἰωάννου Alternate Theotokion with words and Πλουσιαδηνοῦ] γράμματα καὶ μέλος, ποιήμα τοῦ melody by John Plousiadenós, with the αὐτοῦ· ἡ ἀκροστιχὶς Βησσαρίων. Τοῦτο ἐποίησα διὰ acrostic Bessarion. I composed this for the τὸν Καρδινάλιν [ἦχος] δʹ Cardinal, Mode 4.

Βασίλισσα τῶν οὐρανῶν, Παρθένε Θεοτόκε, Queen of Heaven, Virgin Mother of God, Ἡ τέξασα τὸν οὐρανοῦ καὶ γῆς παμβασιλέα, Birthgiver of the King of Heaven and Earth, πάλιν· Again: Βασίλισσα τῶν οὐρανῶν, Παρθένε Θεοτόκε, Queen of Heaven, Virgin Mother of God, Ἡ τέξασα τὸν οὐρανοῦ καὶ γῆς παμβασιλέα, Birthgiver of the King of Heaven and Earth, Σωτῆρα, ῥύστην, λυτρωτὴν ἀπελπισμένοις πᾶσιν, Savior, Deliverer, Redeemer of all the hopeless, πᾶσιν ἀπελπισμένοις· Of all the hopeless. Σῶσον, συντήρησον τοὺς σοὺς ἱκέτας, Παναγία, All-holy One, save and preserve your supplicants, Τοὺς δούλους σου, Πανύμνητε, λύτρωσαι πάσης O All-hymned One, release your servants from all βλάβης, harm, Ἀπὸ παντοίων συμφορῶν, ἀνάγκης τε καὶ νόσου, From every misfortune, need and illness, Ῥῶσιν ψυχῆς καὶ σώματος παράσχου καὶ ὑγείαν, Grant health and strengthening of soul and body, Ἵνα ὑμνῶμεν εὐσεβῶς σὲ τὴν εὐλογημένην, So that we may reverently praise you, the Blessed One, πάλιν· Again: Ἵνα ὑμνῶμεν εὐσεβῶς σὲ τὴν εὐλογημένην, σὲ τὴν So that we may reverently praise you, the Blessed δεδοξασμένην· and Glorified One, Ὣ χαίροις Μητροπάρθενε, κράξωμεν ὁλοψύχως· O Virgin Mother, wholeheartedly shall we cry out “Hail,” Ναί, ναί, Παντάνασσα σεμνή, χαῖρε δεδοξασμένη, Yes, yes, pure Queen of All, Hail Glorified One, τιτιτι – τερερερε… tititi – tererere… Ναί, ναί, Παντάνασσα σεμνή, χαῖρε δεδοξασμένη. Yes, yes, pure Queen of All, Hail Glorified One.

20 PRODUCTION CREDITS in St. Catherine’s Monastery, Mt. Sinai, public domain. Insect: Marginalis ex MS Sinai Gr. 1313 (111). “Cantus Grecus Producer: Mark Powell (Cappella Romana) Χρistus Surrexit,” MS Faenza 117 (30), public domain. Internal tray Recording, Mixing, and Mastering Producer; Digital Editor: card: Marco Boschini, “L’isola di Candia con il leone marciano,” Steve Barnett (Barnett Music Productions, Minneapolis, Minn.). in Il Regno tutto di Candia..., Venezia: 1651 (BMC, E 1209, tav. 1), public domain. Recording, Mixing, and Mastering Engineer: Preston Smith (Perfect Record, Saint Paul, Minn.). Proofreading: Spyridon Antonopoulos, Steve Barnett, Kerry Editing Plot Preparation, Mastering Oversight: John Michael McCarthy, Allison Silverberg. Boyer. Booklet content and design: g2019 by Cappella Romana, Inc. All Performing editions: Alberto Castellani, Liber sacerdotalis (Venice: rights reserved. 1523), tracks 1, 2, 4, 5, 7, 8, 10, and 12. Giulio Cattin, Johannis de English translations: From the Greek by the Very Rev. Quadris, Opera (Bologna: 1972) was also consulted for tracks 1, 4, Archimandrite +Ephrem (Lash), except for Alexander Lingas, 5, and 8. Alexander Lingas: tracks 6, 14, and 17. Ioannis Arvanitis, tracks 6 and 20; from the Latin by Kerry McCarthy. tracks 9, 11, 15, 16, 19 and 20. Theodor Dumitrescu, track 13. Hieronymos Tragodistēs, « Ὢ Πάσχα τὸ μέγα», track 18: Edited This recording is made possible with the support of: by Michael Adamis after Oliver Strunk, “A Cypriot in Venice,” in Festival Oude Muziek Utrecht idem, Essays on Music in the Western World (New York: 1974); see The Festival of Utrecht, Netherlands: also Bjarne Schartau: 1990. Xavier Vandamme, director g P Original recordings: & 2019 Cappella Romana. All rights Les Nuits de Septembre, Liège, Belgium: reserved. Recorded at St. Stephen , Portland, Stéphane Dado, director Oregon, Rev. Eric Andersen, pastor: 22–26 April 2018. Pedro Memelsdorff Graphic design, booklet preparation: Mark Powell Emmanouil Giannopoulos Images: Cover: The Chania (Χανιά) lighthouse built by Venetians in the 16th century and rebuilt by Egyptians in the 19th century: Christian Troelsgård Stock image, used by permission. Cappella Romana: Mary Berger. Dušan Radosavljević Woodcut of Candia (Heraklion), Crete: Georg Braun & Franz Hogenberg, Civitates Orbis Terrarum,Vol II (53): 1575, public Giuseppe Sanfratello domain. «Ἄρατε πύλας» (Lift up your gates): MS Sinai Gr. 1313 (344r), from the Library of Congress Collection of Manuscripts

Bookings and more information: Cappella Romana 620 SW Main St Ste 714, Portland, or 97205 usa tel +1.503.236.8202 cappellaromana.org 21 Also available by Cappella Romana

Cyprus: Between Greek East & Byzantium in Rome: Medieval Latin West 15th-century sacred Byzantine Chant Led by Ioannis CR419-CD music in Greek and Latin from Arvanitis, this 2-CD set bears Cyprus: hymns praising St. Hi- witness to Constantinopolitan American “artistry larion of Gaza, prayers for French music from before the Latin of the highest Record Guide order” royalty (from MS Torino J.II.9), Critics’ conquest of 1204, as recorded Fanfare and virtuosic Byzantine chants by Choice in manuscripts at the Abbey of Constantinopolitan and Cypriot Grottaferrata near Rome (founded composers. 1004).

The Fall of Constantinople Steinberg: Passion Week Cappella Romana’s critically ’s profoundly “a acclaimed program of Byzantine moving work extends the musical captivating chant and polyphony c. 1453 language of Rachmaninoff’s recital” “simply and motets by Guillaume Dufay All-Night Vigil. With Gramophone beautiful” explores the musical legacy of New The New York motets by Steinberg’s teacher and Rome—caught between Latin West Times father-in-law Rimsky-Korsakov. and Islamic East. Also available on 180g vinyl.

The Divine Liturgy in English Good Friday in Jerusalem Medieval in Byzantine Chant The “simply, Byzantine chant for complete service on two CDs, irresistible” commemorations of Great and Holy —Audiophile featuring music drawn from the Friday in the Church of the Holy Audition most authoritative traditions Sepulchre, invoking an elaborate “a of Byzantine chanting. 40-page stational liturgy that encompassed gift to the Orthodox world” booklet with extensive essays on the sacred Christian topography of Again liturgy and Byzantine chant. the city of Jerusalem.

Live in Greece: From Constan- Voices of Byzantium: tinople to California Ancient Medieval Byzantine Chant from Byzantine chants, encounters with Mt. Sinai Byzantine musical “music Crusaders and Venetians, and treasures from cathedrals and of endless music by Californians Frank Desby monasteries preserved from fascination” “robust and his peers and Athenian com- Gapplegate and intriguing destruction in the Egyptian desert poser Michael Adamis (1929–2013). music” Wash- at the Greek Orthodox Monastery ington Post of St. Catherine at Mt. Sinai.

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